Simply Classics, Grade 4-5: Piano Book

Gritton's selections span the full classical canon, from Allegri's devotional writing to Tchaikovsky's symphonic drama, giving students authentic exposure to the pieces they'll hear in concerts and exams for years to come. The arrangements respect the original voicings and phrasing of orchestral works while remaining playable for intermediate pianists, so students aren't just learning simplified versions but actual music. Pairing this collection with ABRSM Grade 4-5 prep means students build technique and repertoire knowledge simultaneously.

Opening these pages reveals the melodic generosity of the classical era. Bach's wit sparkles alongside Brahms's warmth; Grieg's morning unfolds with genuine gentleness; Beethoven's symphonic confidence fills the room. Each piece carries its original character into the piano's intimate space.

Intermediate pianists preparing for ABRSM exams or simply wanting to build a foundation in classical repertoire. Students benefit from encountering these masterworks firsthand rather than through secondary sources, and teachers value having reliable arrangements that don't compromise the original music.

• Start with the lyrical movements (Morning Mood, Waltz) to build fluency before tackling the more rhythmically complex excerpts like The Clock Symphony's ticking accompaniment patterns.
• Pay attention to phrasing across phrase boundaries; many of these arrangements compress orchestral gestures into a single staff line, so careful voicing and pedal work become essential to shape the implied orchestration.
• Record yourself playing each piece and listen back to check tempo consistency, since classical excerpts often feel slower on the page than in their original context.

Thread selections from this collection into a spring recital celebrating the classical masters, pairing contrasting movements for variety. Individual pieces also serve as supplements during technique-focused unit studies, allowing students to apply newly solidified skills (hand independence, voicing, control) to repertoire that matters. The 32-page scope makes it feasible to assign multiple pieces across a term without overwhelming students.

• Voicing orchestral textures across two staves
• Shaping longer melodic lines without losing harmonic clarity
• Managing uneven rhythmic patterns common in classical accompaniments (such as repeated figures and syncopated figures)
• Pedal application for sustaining implied orchestration
• Interpreting classical style conventions specific to each composer